Mel Bay Presents

mmanue
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Metkod
by Tommy Emmanuel
transcribed by Deyon Bratic
Cover photograph by Saro Corwin

Recording$ used exclusively by Mel Boy Publicotion$, Inc. with permi$sion from Original Mu$iC.
Tommy Emmanuel appears courtesy of Original Music.

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 Contents
Holding Position .................................................................................................... 3

Finc.erstvleNotation ..............................................................................................
4

Lean1ing to Read Tablaturc .................................................................................... 5

Dictation Notes with Tommy Emmanuel .............................................................. 6

Getting S1ar1edOn Fin2crsiyle Guitar ..................................................................

8

Tom's Tb111nb 8
Freight Train (simple version) ............................................................................ 12

Frei2.htTrain ........................................................................................................
13

Mr. Guirnr ............................................................................................................

16

Pixie~MrGnirc 21

Thumbpickers Chord Chart ...............................................................................

26

2
 HoldinaPosition
If 1heguirn1·is held pl'Operly.i1 will feel c-0mfor1ablet0 you. Although there al'e
many ways to hold 1heguitar, there are basically two sining positions: the folk or
jazz a.ndthe ch1.-;sical
JX)Sitions.Either posi1ionmay be used, but for most of the
material con1aincdi11 1hisbook. the fol.k sining 1>0si1ionis recommended.

In the/o/k or jazz silfing position, the guitar is held with the wt1istof the guitar res.t~
ing on the right leg. The side of the guitar sits flm on the leg with the neck extend·
ing to the left. The neck should be tihccl upward slightly so the left ann docs not
rest on the left leg. Both feel should be Oat on the floor. although many guitarists
prefer to ele,1atc the rigln leg by using a footslOol.The right ann rest~on the top of
1he guitar just beyond the elbow. The righ1 hand should be placed over and ro 1he
ba.ck (towards the bridge) of lhe sound hole. \Vhether using a pick or the fingers,
the right-hand fingers should be bcnl slighlly. ll1c right-hand fingers may touch the
1op of the guitar, bul they should 1101 be stationary.They move when stroking 1he
Folk or Jazz Position strings.

Ill the classical sifting position. the left foo1is elevated (with a foot stool). and the
guitar re..•ason the left leg. The body of the guitar also restson the inside of the right
leg. The body of the gui1ar should rest Oat on the lefl leg. The neck of the guitar
sh,ould be on about a 45° angle. The right :mn rests on rhe top of the gui1ar ju:st
beyond the elbow. The right hand should beplaced 10the back (towards the bridge)
of the sound hole, Lean forward slig.h1ly.touching
1hetop/back of the guitar body. Si1so lhe righ1 foo1
is pointing forward.

Tite left hand should be positioned with the thumb

touching the back of the guitar neck. Do not bend
the thumb forwatd. 11,c thumb should be vertical.
touching the neck at the knuckle. Do not position
the thumb parallel with the neck. The palm of the
tcf1 hand should not touch the guitar neck. The lcf1
wris1 may berld slightly. but be careful not to exag-
Classical Position gerate the bend.

Whell placing a left-ha,,d finger o,, 1hestring, "square" 1helinger and push 01\ Left-Hand Thumb
the siring using the tip of the finger. (The fingernails mu.stbe short so the tip of
1hclinger can be used.) The li,ogcr should be positionedjust behind and 1ouch-
i,,g (when 1>0ssible)1,hef-re1wi.re. Placi,,g 1hefinger too low in the fre-1may result
in a buzz. and placing the finger on top or the fret wire may cause a muted
sound. The lcft-lrnnd knuckles should run pamllcl with the gui1ar neck. This
makc,si1 possible to l'cachhigher frets with ,he left-hand third and fou1·thfingers
without turning the wrist. Again. be careful not to bring the left-hand thumb over
the top of1he guitar neck. and do not touch 1heguitar neck with 1hepalm of1hc
hand. When pushing on the string. it is as 1hough1hcguitar neck and string al'e
being pinched between the thumb and finger.

Pushthe string firmly enough lO get a sound, but don·, over push. To detem,ine
the co1rcct amount of pressure, touch the string with the left-hand finger and
grnduaHy ::tp1>lypressure. Pick 1hcstring over and over. When a clear sound
occurs, 1hat"s1heamoun1of pl'e-ssu1-e10use. fingering 1'otes
3
 FinaerstYle
Notation
2 3 A M
1 I
4 s

LEFT HANO RIGHT HANO

T ·nrnmb
I Index Finger
M Middle Finger
A Ring Finger

4
 Learning
to ReadTablature
Tclbhuute is cl way of writing guitar 1nusicwhich 1e1lsyou where to find notes. In tablauu-e:

Lines =Strings
Numbers = Frets

Unes= Slrin91
hi J1tfog
scMa
11'1<1
3rd siring
4th ,1Ma
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BorUne

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hutrin;
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4th Mril\8
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4th frei .:.thr~t 3rd fre1.
""''

Circled numbers with stems Numbers with stems are

are half notes 2 counts = quarter notes = 1 count

Plavin!!
SeveralNotesat Once
When numbers appear right above one another, more than one siring is played at the same time.

ht,lrin,
2nd ,tring
3Ahtri~
4th siring
S.h$1."\nJ

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Circled numbers without stems are whole notes =4 counts

5
 Dictation
NoteswithTommvEmmanuel
Getting Srarted on Fingersryle ...
GETTING PREPARED
• Make sure your guitar is set up so it is comfortable for you to play.
• Choose a good set of strings
• Cct in tune ...

TUNING
• ff you have :rnelectronic tuner and you just tune acoustically, that is fine.
• (f you plug into a tuner, make sure you turn the microphone off.
• When you havea pick up in your guitar and you plug into the tuner. put the midrange nnt out oron the lever.
whichever you understand.That gives the tuner. a !'Calaccuratetuner. a spal'ky signal :rnd you will be able
to gel your guitar really and truly in tune.
• h is always a good idea to practice tuning up as well as playing 1heguitar so you can get use IO your guitar
sounding in tune.After a while you will find 1ha1you will end up training your own ear into what 1hesound
of being in w11creally is.

NAIL,S ... ACRYLIC NAILS, NO NAILS OR FINGRRPICKS

• \Vhat works for you?
• \Vhat sound arc you going for°!

CHOICE OFTHUMBPICK
• I use Dunlop medium 1hu1nbpick ... ,,01 100 big. small. 1hh1.or thick ... it is rig.hi in 1he middle. like a
plcc1rum.but it is wr::ippcdaround your thumb.
• Some people use the slick pick:;. which urc thinner.
• It dependson whm kind of dynamic or strength you play with. Personally.if I use a slick pick. it would
probably fly a:::rossthe room after the first bassnote.
• I like somethingthat hangson to my thumb. docsn't make it tum blue on the end and it sticks on your thumb
properly.
• The thumb pick should be pushedback so when you look at your thumb it is covering the end of your nail,
where it meets1hcflesh. rirst knuckJejoint. When I look down at my thumb, it looks like there is 1/2 inch
of thumb StickingOU(.
• The thumb hasto be independemto the fingers. It is important thm you develop the thumb first before you
do anything wilh the fingers. You have to start trt1ining it. This tokestime and dcdica1ion.
• In ohckey C. 11ickC, F. and G 10play. Pu, your fingers down on ohe1>lace of oheguioar where ohefreoguard
is, down at lhe mouth. Crest lhe heaJof my palm, the corner of the heal down and I take a liule bit of
resonanceout of the slring to give il 1hatmusic sound. Leave your firagcrsdown tmd start with the A string
on the 3rd fret of the C chord. Whe1,you ca11get this slow and stc;1d:1 and useto it. go w C. G. and C.
• It is very important that with enchchord change, I start the bassnote on lhe root note. When I am playing
in C. the firs1 note you play is C. \Vhatcvcr chord you arc pfaying. the first ba..;,;.s
note should be the roo1note.
ohenooeof 1ha1 chord.
• Practice slowl)'· Keep the lingers down. Do in any key. E. A.G. B. A. ..
• Practice until you can get a good feel. groove going and playing the thumb without the fingers coming up.
Cct the th,unb going fitsl.
• Jt is import::intror you to becomegood al tapping your foot when you play. Chet use to say, pat your foot. It
will help you with your groove and your time. h will put a bit of bounceand confidence into your playing
aild timing. You need to have a good time.
• J always tap r:1y foot on 1 and 3. The only time I don't tap on I and 3 is in an extreme situa1ionwhere I
would play a songwhere for me to g,ctthe right foeI on it I would mp on the other beat or where I would mp
like a bassdl'ummer.

6
 • Get use to the sound and feel. Let it happen naturally and be aware of it at all times. Get use to the sound
800111Chick Boom Chick .... I am looking for foci and groove. good. good!sound.
• \Vhcn you get the-thumb and fingers independent from one onothe1·move your little fo1gcrdown and bri11g
the thr~e fingc:rsup and 1>laythird fing,e-rQn the fil'$t string, second fing~r on the second $tring and lin;t
finger on the third String.
• Get tl1ethumb going. spell out ,, chord. 1heliule fii1geris anchoreddown on 1hescratchguard and spell om
the chords. That is the first step. If you can do that, playing it in time and tapping your foot, that is what you
need to be doing.
• ·Thenext step is where I add a liule acce:111 be-al.skip bea1where we do this I, 2. 3. 4. ba bop. ba bop. while
you keep the thumb going. That is against what the thumb is playing.
• The 11cx1step is 10s1>ellout the chords with your lingers. 111ethumb koeps:going and you have second
finger secorlds1ring,fi1'Slfinger 1hirdstring. a1ldfU'Ststring secondfinger. P-l'ac1ice that with lapping 1hefoot
and keeping the bassas constantas you can.
• \Vhcn you can do that and piny i1 all in tinlc, practice th:n over and over. Your fingers arc going 10get sore.
Keep,going with 1hat.Take breaks.

L£ARNlNG A TUN£
• The first lune I usually teach is ··Freight Traio:· h is a grea1old tune. The 1·easonI chose it is the melody is
on 101> of the chord. So I am playing the melody with my Huie finger ... fingering with my little finger while
holding 1hcC chord. G. C. F 10A. E. C. ·n,c bcs1way 10do 1hisis 10learn in scc1ionsand piece it t0gc1hcr.
Oon·• try to leam the whole thing right through Stl'aight,iway.
• Try Eo get that smooth. Keep the bass going. Boom, Chick, Boom, Chick .... I usually do a D minor.
Again .. , There is a few diffCrcnt ways of doing ii on 1hcG7th and 9th. 2nd finger on the G string and E
string on the 1hird fret, third finger on the F. first finger on the A, 3rd string on 2nd fret. Little finger on the
secondstring on the third fret
• Practice in sections. Go over and over 11.1ntil you can ge1through 1hemelody. Give yourself time. It takes
some time to ge-Lthat together.

Olff£R!£NT WAYSOf PLAYING BASS

• In ::i more subtle open w::iy.demonstrates.. .
• This is a nice li1tle exercise to practices... demonstrates...
• You can increase1hcs1>eed ... dcmonst.ra1cs...
• Has a very nice sound.
• Using that kind of idea with a song of mine called ·•Mister Guitar" \Vhich is dedicatedto Chet Atkins. ()nee
you gel a hold of 1hisringerstyle. you cnn wo~ 1histune out.
• The firs1 time around I play 1hetune like this ... demonstrates...
• The bass is a lot more subtle and spells ou1 lhc chords.
• That ·is the first part. then you can go inco the 0oorn Chick bassand mute the bassthe secondtime around.
• First time ... demonstrates.... secondtime ... demons1rmes ... 111uted
bass.
• Once you get a reeling for that in some or the songsth:.llyou play you may want to play one verse with the
bassa bil more open and then mute it orl the secondtime around. stuff like: that.
• On my song. ·•Dixie McQuire" ... demonstrates... first time around... demonstrates... second time ...
demonstrates... during thtu song J usedsome open bassand muted bass. II is rc:.illy up to you where you use
i1 and how you use iL You jus1 have 10train your ears to the different sou,:ids.See ir you can find as much
of the Chet Atkins earlier stuff as you c.an.Stuff from 1he60's and 70's was wonderful to le.am.Check the
album Chet Atkins Alone. the original one. l11is has a beautiful version of me and Bobbie McGee. This is
wh,u really helped me when I was young.

7
 GettinaStartedOn FinaerstYleGuitar
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